SECTIONS - Plymouth

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Desig

n Journal 2018.19School of Art, D

esign and Architecture: University of Plym

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S E C T I O N SD E S I G N J O U R N A L 2 0 1 8 . 1 9

Design Journal > 002 < Sections 18.19

Design Journal 2018.19

> A R C H I T E C T U R E Printed and published in 2019 by Document Production Centre in conjunction with the ADA Graduate Show, University of Plymouth. Editorial DirectorDr. Simos Vamvakidis Creative DirectorSamuel Huntley Content DirectorAnna Knight Gonzalez

Design and Art EditorsLucy Daw, Christopher Logue, Thabiso Nyezi and Sam Brazier Cover ImageJonathan Lettmann

Unless otherwise stated, all visuals are students’ own work.All rights reserved. ISBN 978-1-9997750-6-3



> INTRODUCTORY REMARKS <


“A celebration in ideas of architectural production”It is an absolute pleasure to introduce SECTIONS, the Design Journal of BA Architecture and Master of Architecture students here at the University of Plymouth, school of Art, Design and Architecture.The work enclosed here offers a glimpse into the way of thinking and producing within the design studios.The design studios are diverse and offer opportunities for students to explore and engage in ways of thinking aligned to their own interests, but also challenging current conditions.

The work in here is primarily a response to current and future needs most are live projects with real ‘clients’ and ‘communities’ informing the briefing / consolation of design studio work. Most projects emerge from collaborative work, enabling students to understand the richness of broader thinking from which individual projects emerge. The projects are regional and international at final year M Arch, allowing the students to become global citizens within their chosen profession.

The criticality revealed in this journal is a clear response between Design Studio and Critical Context. So this journal should be read alongside its companion INTERSECTIONS – The Critical Context Journal. The work here could not be where it is without the dedication of the studio leaders and tutors that join us regularly in studio, so I would like to take this opportunity to thank all of them for enabling the work to have such a maturity, rigour and delight as is shown in this Journal.

Finally, I would like to thank Dr Simos Vamvakidis who as Editorial Director of SECTIONS - The Design Journal, who has taken a huge amount of time and care in bringing this Journal to life.

> Andy Humphreys > Associate Head of School - Architecture


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I N T R O D U C T O RY R E M A R K S Andy Humphreys

B A 0 1 Semester OneStudy Trip: Barcelona - SpainSemester Two

B A 0 2 S e m e s t e r O n eDomestic Matters D A RT I N G T O N P R O J E C T

B A 0 3 S e m e s t e r O n eCivic Matters F a b r i c a t eStudy Trip: Amsterdam - NetherlandsBA02 & BA03 Semester Two

Tr a n s f o r m a t i v eStudy Trip: Copenhagen - Denmark.BA02 & BA03 Semester Two

r [ d ] vStudy Trip: Copenhagen - DenmarkBA02 & BA03 Semester Two

G e n e r a t i v eStudy Trip: Barcelona - SpainBA02 & BA03 Semester Two

M A R C H 0 1 MARCH01 Studio: Expansion M A R C H 0 2 Study Trip: Macau, ChinaMARCH02 Studio: Difference, Dialogue and Place INDEX Staff

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A01

Design Journal > < Sections 18.19



> S e m e s t e r O n e : H u m a n S c a l e Module Leader: Toshiko Terazono

Supporting Tutors:

de(CODING) ARCHITETCURE

Pre-conception of what Architecture is and what architect does always not define as clearly and it always depend on an individual to understand what it is and what entail. This does even apply not only for none architectural public but also even within the construction profession itself.

People who are entering into a world of architectural discipline, why not to start their journey by investigating what it is and what it does from their own individual term instead of

bombarded by how the idea of Architecture has been defined by others. In our first year of architecture programme, we started our discussion from the point of view by evaluating and re-evaluating how we process a making of an architecture.

Then we continued the rest of the year to testing and applying ‘own’ understanding and approach to pursue the making of an architecture. Toshiko TerazonoBA (Hons) Architecture Year 1 Leader

Dr. Nikolina Bobic, Rob Hill, Zoe Latham, Andrew Morris,Ioana Popovici, Dr. Simos Vambakidis, Alex Screech,Timothy Snell,

> BA01 Semester O

ne> C

ROSS SEC

TION

S 2019

Tanya AdamsElinor Aikman

Andrew AnbalaganJames Axon

Joel Baker-SmithPhoebe Bell

David BenwellIndia Berry

Martin BignellJennifer Blake

Dennis BoucherMatilda Cage

Georgina CameronSebastiano Carboni

Chun ChanEdyta Chojnowska

Henrietta ColeTim Emery

Rhiannon FlackEdward Giles

Christopher GoslingMuhammad Law

James HeardOliver Higgins

Ben HookerDamilola IdishaSophie JamesYasmine JelleyGaoqian Jiang

David JonesJacob Lacey

Emilie LatulippeWinston LeungBethany LongAnna Longley

Harrison LovelockYiliang Lyu

Chaitanya ManeRebekah MarrWilliam Martyn

Lucas McCarronAdlai MeadeEva MillwardWill Mondon

Benjamin MooreEleanor Mott

Iason NielsenNii Nunoo

Kayleigh O’NeillJack O’Sullivan

Ogul OztaysiNarendra Kurup

Jamie PrewAshleigh Puchala

Owen ReesBarbara Reis

Allen RejiJack RichardsDaniel RobertsDaniel RowleyCallum Salem

Ateeb ShakeelAliyu Shehu

Georgia SmithHanna StancuDaniel Steven

Harry StradlingCorey Sutherland

Harrison TaylorSamuel Thomas

Cian TullyGeorgios-Spyridon Veloudos

Lucas VossAbigail Williams

STUDENTS


P ro j e c t 0 0 / 0 1 : P ro p o s i t i o n + d e ( C O D I N G )

The first project was to seek and find what type of architecture that a student value. Starting by setting up their own icon of an architecture. We then explored the idea of how to generate the architecture and to witness what it involves in the making process.

IMAGES CREDIT: JOEL BAKER-SMITH, EVA MILLWARD


P ro j e c t 0 2 / 0 3 : E m b o d i e s S p a c e

The project started by the discussion of a making a space by using body and scale as measurement tool.

Students had an opportunity to work with foundation year of a local school children as well as BA(hons) Early Childhood Education and BA(hons) Education Studies 3rd year students to help making an outdoor class room with a fire place in the local school’s environmental garden. Carrying out consultation activities with both children and students from other discipline as well as to work with a ‘real’ context, our students had an opportunity of experiencing of multiple phased of project as if they are following plan of work schedule set by RIBA. This particular project did not only provide an insight of what is a real architectural project is like in terms of schedule of work and building process but also helped them to understand the role of each party that involved in the project and how to communicate to each other in ‘real’ term. This particular learning environment does provide a clear ‘taster’ exposure and experience post their studying degree in real field.

IMAGES CREDIT: JOEL BAKER-SMITH, EVA MILLWARD, IASON NIELSEN, EDWARD GILES. RHIANNON FLACK, BEN HOOKER. WILL MARTYN, ELEANOR MOTT EVA



IMAGES CREDIT: JOEL BAKER-SMITH, EVA MILLWARD,

P ro j e c t 0 4 - B a rc e l o n a


BARCELONA


> S T U D Y T R I P : B A R C E L O N A , S PA I N

This project was to explore multiple visualisation tools to carry out precedent study of buildings to analyse how their understanding of Architecture has developed since the beginning of the year. Students has an opportunity to visit several buildings selected for their study, including Barcelona Pavilion and MACBA, The Orangery and TR2 buildings.



> S e m e s t e r Tw o : D a r t m o o r Z o o

This project was to challenge the idea/meaning of THRESHOLD in the site of the Dartmoor Zoological Park. By questioning what is their own term / understanding of THRESHOLD started the discussion to kick off their design process. We were invited to design an enclosure to support the part of Amur Leopard conservation project by Wild Cats Conservation Alliance that the Dartmoor Zoological Park (DZP) was taking part in. In order for DZP to house the conservation project in their site, they need to have a sufficient facility to be able to receive a couple of Amur Leopard. Our students worked with very interesting and strict project brief to come up with different type of enclosure with intriguing detail. Those proposed design idea to be used for DZP to proceed their fund raising activity.

> S e m e s t e r O n e

> B

A02




This semester focuses on an architecture of housing by exploring the notion of domestic space in the Plymouth waterfront area of west Hoe. While the domestic elements of place-making and “home” have been intensively studied in neighbouring fields of knowledge (e.g. social anthropology, material studies), the attention from architecture studies (and architecture programs) is remarkably scant. A possible cause is the understanding of the domestic (and its corresponding material expressions) as a topic of low architectural hierarchy, often pictured as a mundane and taken-for-granted collection of objects and practices not previously anticipated by the designer. This studio, then, addresses domestic space as a comprehensive line of inquiry, imbued with a series of relationships and connections over space and time.

The studio began with a context analysis, followed by 2 design projects. Based on site research and analysis, students chose at least one Target Group from the following list and explained the reasons for chhosing them: A. University students B. Marine biology scientists C. Pensioners D. Marines E.Creative professionals F.Young families. For the first design project called Flexible Housing, students proposed a Housing complex of 6 housing units (with at least 3 basic unit types). Each unit had an area of 20m2 to 50m2, depending the specific Target Group they chose. The unit types had to relate to the Target Group. Students also took into consideration access to the housing complex from existing or new pedestrian paths, stairs and/ or ramps as well as any other public space they proposed as part of their design proposal.

The students explored different ideas and produced final designs for the architectural synthesis of a Housing complex, based on combining the 3 fundamental areas found in any Housing project: Units, Circulation and Communal Spaces.

During the initial design phase, students had to produce their own Housing typology diagrams and sketches, exploring different variations / combinations of Units, Circulation and Communal Spaces. The second design project of semester one is named Aggregate Housing. Based on the previous project submission, students proposed different ways of aggregating their 6-unit housing project in order to design a 10 to 16 units housing project. This project also had an additional communal space of 50m2 with a specific programmatic function for tenants (either interior or exterior). This second project gives students the chance to think of how to resolve housing matters that are quite common in architecturre and design offices, such as the matter of density of housing complexes with many housing units, without compromising the quality of life of their tenants.

Dr. Simos VamvakidisBA (Hons) Architecture Year 2 Leader

> D o m e s t i c M a t t e r s Module Leader: Dr. Simos Vamvakidis

Supporting Tutors: Hayley Anderson, Ricky Burke,Alejandro Veliz Reyes, Mike Westley, Claire Williams

> BA02 Semester O

ne> C

ROSS SEC

TION

S 2019


Ibrahim AhmaduToby Allen

Hussein AliRyan Bariball

Anastasia Baskerville-HicksHannah Began

Mathilda BitinSamuel Brazier

Emilie ButterJared Campbell

Bethan-Antonia CarpaniniJacob ConroySamuel Cooke

Bethany CoppardJames Croke

Elijah DakaRhianna-Louise Dixon

Catriona DoddMichael Dorsman

Chloe FosterCordelia FosterBenjamin Giles

Joshua HallJonathan Hannam-Deeming

David Harries-ReesCallum Hattersley

Omar IbrahimDylan Isaac

Robert JohhstoneImogen KempJameel Khan

Kin KongLingwen Kong

Jonathan LettmannLauren Lloyd-Foster

Christopher LogueLiana Luzina

John MendezLiam MorganOliver MurtonMo NaitCharif

Zahra OlanrewajuRyan OliverMary Onaji

Oluwasegun OsadiyaErik Oye

Meetesh ParmarLucas Payne

Kamil PerzanowskiThomas Pooler

Cameron PowellYiling Pu

Isabelle RaynerElis Reah

Marcus ReidMax Rumble

Caesar SaavedraEleanor Savage

Jacob ShawJack Simpson

Xhelani SitholeKyle Stone

Samantha ToplisOliver Toussaint

Tomas TrottGeorgina Trueman

Henry VickeryAaron Walkley

David WallisJake WebberJoseph White

James WidmanKin Wong

Alican YazganLuo Zhang

> AT E

Kyla FarmanPeter Irankunda

Zak GilbyStephen Gunn

Sebastian Ulloa-Thompson

Rhiagh LittleLayton Beaton

Charlie Hays

> S T U D E N T S


IMAGE CREDIT: RYAN BARRIBALL, JAKE WEBBER


IMAGE CREDIT: JAKE WEBBER


IMAGES CREDIT: OLIVER TOUSSAINT


IMAGE CREDIT: JACK SIMPSON, ELLIE SAVAGE


IMAGES CREDIT: OLIVER MURTON

Typology Diagrams

Seperating the volumes create avenues between units that allow light and air to penetrate more surface area.

The addition of a staggered unit block offer a place for shade and protection.

Again, elevating the communial space subconciously seperates space. The stacked building volume create private space, within modern culture, private space is desired.

Four units that are at two different heights allow for the taller units views as well as sunlight.

The elevated communial spaces form a dialogue with each other, allowing the user to communicate between space.

Joining the four units through one circulation allows for strengthening bonds between users and create a harmonious relationship.

Seperating the stacked unit from the other units creates segregation from each other, the user would take ownership of their communial space.

Elevating the communial spaces subconsciously makes the space private, the seperation between the public/ private realms can strengthen bonds.

Conjoining the two volumes break down the segregation between space; the elevated communial space is the bridge between the users in opposite units.

Typology Diagrams










Typology Diagrams











IMAGE CREDIT: JONATHAN LETTMANN, BEN GILES, OLIVER MURTON, MO NAITCHARIF


IMAGE CREDIT: IMOGEN KEMP


IMAGE CREDIT: SAMUEL COOKE, AARON WALKLEY, JACOB SHAW

> ATE

02




IMAGE CREDIT: SEBASTIAN ULLOA-THOMPSON( ATE)


IMAGE CREDIT: ZAK GILBY (ATE)

> D

artington

> L i v e P ro j e c t




> Special thanks to: Dartington Estate: Craft Revolution:

Martyn Evans, Harriett BellLou Rainbow

> T h e B I G Te n t , D a r t i n g t o n

Inspired by the tents situated on site, the winning design uses a host of local materials from the surround forrest to situate it within its context. Second and third years from BA collaborated to construct the Shelter exploiting both on and off-site fabrication methods. The shelter is now open for use by the campers.


> B

A03

> S e m e s t e r O n e




> C i v i c M a t t e r s Module Leader: Andy Humphreys

Supporting Tutors:

‘Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody’ Jane Jacobs, The Death and Life of Great American Cities

In Semester One this academic year BA03 studio was working with the Plymouth City Council Strategic Waterfront Master Plan, responding to the aspirations of a Cultural Corridor.

‘There is a fifth dimension to every city: the collective memory of place. Memory of place does not mean rebuilding the past, but drawing on its memory to rediscover the paths and footsteps of past generations, guided by topography and the weather, which traced the early structure of the city. It also means that in renewing the city for the present and the future we must create places that will strike new memories for the next generations.’ A Compendium of needs, analyses and capacity data with the City – Plymouth Report 2010

Plymouth is unique in terms of post war development, and has become what it is today due to a series of distinct actions imposed upon it – some controlled and others imposed. Most cities exist and evolve within the state of continuity and change, however here, the sense of continuity is the issue, as much of the past was erased.

The territory for Semester One was from Sutton Harbour to the south, meandering north to the proposed Box development. Working collaboratively in neighbourhoods, 64 individual propositions of various scales, program, and social response have been identified to create social and economic resilience to residents, local businesses, institutions and visitors alike. Has the work suggested a continuous Cultural Corridor? Arguably no, but like most cities it offers areas of encounters.

> Mr Andy Humphreys> BA (Hons) Architecture Year 3 Leader

Hayley Anderson, Graham Devine, Nicky Fox

> BA03 Semester O

ne> C

ROSS SEC

TION

S 2019

William AdamsMariya Aminu Bello Masari

Emma AnsellElizabeth Appleton

Tobias AshmanLeon Bell

Jack BennettAnita Blanchard

Joshua BowryShane BrookshawBarney Broomfield

Oscar BrownBen Chamberlain

Luke CollinsonLucy Daw

Olivia DownmanJoshua Earl

James Eaton-HennahCharles Fletcher

Robert ForseyTaylor Gittens

Thomas GrimerAyla Hamou El Mardini

Thomas HarrisGeorgia Hendy

Annabelle HoddJack Hodges

Joshua HollandsYee Hung

Samuel HuntleyFatema Jaafar

Sara JaafarPaul Kaczmarczyk

Freya KayIoannis-Alexandros

KilinkaridisAnna Knight Gonzalez

Eric LaiHollie Lake

Matthew LawrenceRuben Le Sueur

LokYiu Vonnie LeungWing Li

Brianna MacDonaldAdrian Mpanga-

SempaThabiso Nyezi

Douglas PatersonCaesar Saavedra

Ritika SaykarSamuel SkinnerTytus Szmidtke

Yusuf TafidaChristopher Trigg

Nicholas TsangarisLuke Westle

Sak WongJoshua Woodfine

> AT E Adam Chapman

Emmanuel ChiefsonJesse Echefu

Amoy FarquharsonElla Gibson

Emma Gomez Gonzalez

Natalia GwozdzPeter IrankundaNicholas Jones

Samruddhi Kangutkar

Romello McCookIrenitemi Onadeko

Matthew SelleckAmelia Williams

Qinrui Zhang

> S T U D E N T S


IMAGE CREDIT: JAMES EATON-HENNAH, JOSHUA EARL, OLIVIA DOWNMAN, LUCY DAW, OSCAR BROWN, VONNIE LEUNG


IMAGE CREDIT: JOSHUA EARL


IMAGE CREDIT: VONNIE LEUNG

Facade Detail Drawing Scale 1: 10

Key Plan


IMAGE CREDIT: JAMES EATON-HENNAH


RO THE I REA INTO THE ATE A

IMAGE CREDIT: SAMUEL HUNTLEY


Liminal spaces

Arriving

Introduction to the city

IMAGE CREDIT: AYLA HAMOU EL MARDINI, HOLLIE LAKE


IMAGE CREDIT: TAYLOR GITTENS, FREYA KAY, THOMAS GRIMER, THABISO NYEZI


IMAGE CREDIT: THABISO NYEZI


IMAGE CREDIT: TAYLOR GITTENS,FREYA KAY

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IMAGE CREDIT: ROB FORSEY


IMAGE CREDIT: MARIYA AMINU, TYTUS SZMIDTKE


IMAGE CREDIT:BARNEY BROOMFIELD, NICK TSANGARIS

> Fab

ricate




> A d a p t i v e R e - U s e

Module Leader: Dr. Alejandro Veliz Reyes

Supporting Tutors: Ricky Burke, Shaun Merchant, Catherine Woods

The FAB studio invites students to engage with the fabrication, materiality and production of our built environment as key drivers of their design process. Simultaneously a design practice and a material lab, the course enables students to consider structural, material and technological aspects of architectural development throughout one semester.

By critically addressing the “death of the high street” narrative, this year’s FAB studio re-imagined the urban and architectural reconversion of Plymouth city centre vacant spaces. Mostly associated to retail, vacant spaces allowed students to explore the feasibility of the post-capitalist city by developing architectural responses to future speculative scenarios (e.g. dystopian Plymouth), future environments and policy (e.g. Plymouth Marine Park), and future local economies (e.g. making spaces).

This area of inquiry has been supported by a field trip to Amsterdam, with a focus on studying diverse material responses to architectural production, including the city-wide scale (Museum of the Canals), the development of cultural spaces (Reijksmuseum, NDSM Amsterdam) and small-scale reconversion precedents (Museum of the Church in the Attic

Dr. Alejandro Veliz ReyesFabricate Studio Leader

> Fabricate Studio> C

ROSS SEC

TION

S 2019

Jack SimpsonSamuel Skinner

Kyle StoneSamantha ToplisOliver Toussaint

Tomas TrottKyle Turner

Henry VickeryJake Webber Luke Westle

Amelia Williams

> S T U D E N T S Anastasia Baskerville-Hicks

Mathilda BitinSamuel Brazier

Ben ChamberlainJacob ConroyJames Croke

Lucy DawMichael Dorsman

Olivia DownmanKyla FarmanChloe Foster

Benjamin GilesThomas GrimerFatema Jaafar

Sara JaafarPaul Kaczmarczyk

Lingwen KongLiam MorganMo NaitCharif

Mary OnajiMarcus Reid

Eleanor SavageKatrina Shannan


AMSTERDAM


> S T U D Y T R I P : A M S T E R D A M , T H E N E T H E R L A N D S

This area of inquiry has been supported by a field trip to Amsterdam, with a focus on studying diverse material responses to architectural production, including the city-wide scale (Museum of the Canals), the development of cultural spaces (Reijksmuseum, NDSM Amsterdam) and small-scale reconversion precedents (Museum of the Church in the Attic).


IMAGE CREDIT: LUCY DAW

> Te x t i l e s R e - A p p ro p r i a t i o n

A textiles centre addressing issues of waste and the decline of the highstreet. The Architecture responds to the programme, an atrium connecting the multiple floors with a weaving stair hanging from the reinforced steel roof. The project oscillates between a domestic and industrial scale, the activity defining the Architecture.


IMAGE CREDIT: OLIVIA DOWNMAN

> G l a s s R e - A p p ro p r i a t i o n

The Glass component provides the opportunity to revive waste glass material. The programme exposes the different properties of glass, with multiple workshop studios dedicated to exploring various elements. Workshops combine domestic production with industrial fabrication, with the characteristics of glass expressed in the architecture promoting integration and testing across productions.


IMAGE CREDIT: THOMAS GRIMER

> C o n n e c t e d C i t y

Overtime, the redundant spaces in the city will be infilled with homes, hubs, neighbourHUBS, and public space. The expansion will enable more hubs to appear within the city, connecting the city with transport over time. Once there is sufficient connections, the hubs can take on other uses. Shops, workshops, art studios all become to pop up around the city, run independently to guarantee an individual shopping experience and experience of the city.


> Wa s t e R e - A p p ro p r i a t i o n

The Waste Re-Appropriation Yard is a sustainable entity, heavily industry based with a primary purpose to serve the public and local community. The building necessitates the process of extracting value from everyday municipal waste, non-reusable waste to be combusted providing local energy. Re-usable waste to be manipulated to create components and spare parts.

IMAGE CREDIT: PAUL KACZMARCZYK


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IMAGE CREDIT: BEN CHAMBERLAIN AND CHLOE FOSTER


> L o b s t e r H a t c h e r y

Tackling the issue of lobster overfishing, by provided a facility which artificially breeds, educates and promotes sustainable consumption of the lobster. Each fishing shack focuses on a different stage of the breeding process. While on the ground floor, a restaurant promotes the lobster using the ‘buy one set one free concept’.

IMAGE CREDIT: JAKE WEBBER


IMAGE CREDIT: JACOB CONROY, LINGWEN KONG

themoonlightlibrary

perspective section 1-1CUTTING THROUGH PUBLIC SPACEday ver.

1

1

2

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The corridor 30s

New George Street 30s New George Street 15s Entrance 0s Reception 10s

Stairs 20s

Working space 35s

Reading space 40s

Working space 70s

Stairs 80s Reading space 100s

Name: Lingwen KongNumber:10626545


IMAGE CREDIT: BENJAMIN GILES

A D Y S T O P I A N F U T U R E“THE SYSTEM MAY NO LONGER FUNTION”

The social-economic gap has forced walls up districts. Global warming has flooded the city, storms tearing the built fabric and diseases speading uncontrollably. Over population and Brexit has made food scarce and air toxic to breathe. Urbanisation and Migration have broke the economy leaving Plymouth un-defended,

within a state of chaos.

> Transform

ative




Yiling PuElis Reah Xhelani Sithole Tytus SzmidtkeYusuf TafidaAaron Walkley David WallisJoshua Woodfine Kin C Wong

ATE:Kieran ClarkLayton Beaton Charlie HarrisRhiagh Little

William AdamsEmma Ansell Elizabeth AppletonTobias AshmanHannah BeganJack Bennett Barney Broomfield Jared CampbellBethan CarpaniniLuke Collinson Taylor Gittens Jonathan Hannam-DeemingAyla Hamou El Mardini Jack Hodges Joshua Hollands Samuel HuntleyAli HusseinOmar IbrahimRobert JohnstoneMatthew LawrenceKin KongLok Y LeungWing LiBrianna MacDonald John MendezAgyapomaa Mensah Sebastian MihaescuOluwasegun OsadiyaErik Oye

> S T U D E N T S

> Transformative Studio

> CRO

SS SECTIO

NS 2019

> Tr a n s f o r m i n g S p a c e s

Module Leader: Michael Eastley

Supporting Tutors:

The Unprecedented growth and movement of the demographic has had major impact on the city, which has thrown open new scenarios, questions and challenges. These new challenges can’t be looked at as set of problems which have a set of solutions. Whereas, this matrix has to be addressed at various levels and at different layers. There is a considerable shift of orientation in architectural theory and practice; ‘from what the building is to what it does, defining the first by means of the second’. Designers tend to view the buildings in different ways, for instance as objects that results from design and construction techniques or as objects that represent various practices and ideas. Whereas, actuality of the buildings consists largely in its acts, it performances; how the building discloses itself through its operations.

‘Performative architecture’ challenges and complements conventions of sustainable architectural design. Focusing less on sustainable metrics and more on the qualitative and experiential dimension of environmental conditions, this thematic uses the ‘Millbay Area’ as a site of speculation. Plymouth’s waterfront has shaped the history of the city and continues to host a vast range of activities and users which are critical to it’s economic success. Plymouth Council has identified ‘working waterfront’ as the priority theme in its master plan and strategic development vision. This priority theme is also a recognition that an authentic, working waterfront will be the most interesting to experience and is clearly the only sustainable future for the waterfront. You are challenged to address the long-standing concern of “Plymouth Identity” and examine the status of Plymouth city as an ocean city. Among your own preoccupation you are asked to respond to the Plymouth Council’s requirements; Emphasis on ‘Place Making’ and health and wellbeing of the working waterfront.

Michael Eastley Transformative Studio Leader

Graham Devine, Claire Williams


COPENHAGEN


COPENHAGEN

> S T U D Y T R I P : C O P E N H A G N , D E M A R K

This area of inquiry has been supported by a field trip to Copenhagn, with a focus on studying diverse material responses to architectural production, including the city-wide scale within Malmo, the development of cultural spaces (Louisana Art Gallery) and small-scale detailing.


IMAGE CREDIT: TAYLOR GITTENS, SAMUEL HUNTLEY


KEY SPACE: LECTURE SPACE

Within the project I thought it was important to include a space where there was an oportunity to learn and play. Although there is a set lecture space I found important to play with different levels to create a encounter on many levels around the sunken bakery.

KEY SPACE: WALKWAY + MILLING

Within the project I thought it was important to create a atmosphereic space to show the milling. The roof has been designed to foucs natrual light on the walkway and the milling space.

IMAGE CREDIT: SAMUEL HUNTLEY


IMAGE CREDIT: BARNEY BROOMFIELDAARON WALKLEY

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IMAGE CREDIT: AYLA HAMOU EL MARDINI,


IMAGE CREDIT: TYTUS SZMIDTKE


OfficeCorridorOffice’s play areaPortable cafe counterUpcycled furniture show roomCafe SeatShShow room atriumOld furniture storageUpcycling workshopWorkshop’s waiting areaBridgeBOH servicesLift shaftConsultation aConsultation areaCirculatrion to roof garden

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Spatial collageEncountering the... - Upcycled furniture show room

Cafe seats are provided for visitor to rest during the walk at the upcycled furniture show room. Placed next to the existing raw stone wall so as to making great contrast between stone and timber

While walking through the show room, visitor can look down to the workshop and see how skilled people renew the old furniture

The show room applied a one walk way system, the window collage as a features wall attracting people to walk through the whole show room

IMAGE CREDIT: VONNIE LEUNG


IMAGE CREDIT: VICKY LI, YILING PU

> R

[d]V




Thabiso Neyezi Mariya Masari

Oliver MurtonRyan Oliver

Lucas PayneThomas PoolerIsabelle Rayner

Max RumbleRitika SaykarJacob Shaw

Christopher TriggGeorgina Trueman

Joseph WhiteLuo Zhang

Qinrui Zhang

Ryan BarriballLeon Bell

Anita BlanchardKatarzyna Bogucka

Joshua Bowry Shane Brookshaw Oscar Brown

Samuel Cooke Joshua Earl

Callum HattersleyJames Eaton Hennah

Charles Fletcher Robert Forsey Thomas Harris Georgia Hendy

Annabelle Hodd Yee Hung

Dylan IsaacImogen Kemp

Freya KayAnna Knight Gonzalez

Hollie LakeJonathan Lettmann

Ruben Le Sueur

> S T U D E N T S

> R[d]V Studio> C

ROSS SEC

TION

S 2019

> T h e e v e r y d a y a n d u r b a n r i t u a l s Module Leader: Andy Humphreys

Supporting Tutors:

‘Situation, unlike system, is not a technical but ontological term. In more precise formulation, it is our mode of being in the world…..Situations are the receptacles of experience and of events which deposit in them a meaning not just as residues but as the invitation to a sequel………the necessity of a future….and eventually a history’1

In our working lifetimes, the worlds populations are going to increase by a further 50% and 80% of that population are going to live in Cities. Cities need to become adaptable, multi dynamic, multi-generational and desirable. The city at present primarily has notions of ‘production of commerce and civic matters at the centre, [some leisure] light industry to the periphery and in the case of Devon, agriculture to the hinterland. The city should be a repository of multiple types of production and participation. Any city is the collective memory of its people – associated with objects and places and events.

The response, modes of production, intellectual, social, political

To explore how we bring moments of collective engagement, celebration and exchange into the foreground and create settings where the fabric of the site represents this ambition.

______

1 Change and Continuity in the Contemporary City’ Dalibor Vesely Scroop 8 Cambridge University Journal

A studio of 5 primary acts of engagement:

Act 1 - Preparation A stratification of embedded research to inform

Act 2 - EncounterActs of participation consultation to identify

Act 3 - PreliminariesRevealing the invisible framework strategy

Act 4 - PropositionConsolation with The Compassionate Plymouth network to clarify

Act 5 - ResolutionKnowing, situated civic projects, with societal considerations operating as the ‘base datum’ to inform all projects.

The studio would like to thank Tam Martin Fowles, founder of Hope in the Heart and the Compassionate Plymouth Network

Mr Andy Humphreysr[d]v Studio Leader

Hayley Anderson, Nicky Fox


COPENHAGEN


COPENHAGEN

> S T U D Y T R I P : C O P E N H A G N , D E M A R K

Copenhagen provided an opportunity to look at Precedents of both the scale off the building and the city, culminating in a series of documentaries. Copenhagen was used as in 2009 the city council enacted a plan called ‘A Metropolis for People,’ envisioning what the city should look like in the future.


> C o m p a s s i o n a t e P l y m o u t h

The Studio conducted workshops alongside Compassionate Plymouth to gage what the city needs along with our social responsibility. Individuals, groups, organisations, businesses and statutory bodies are invited to become part of the Charter and the Compassionate Plymouth City Initiative, uniting to create a positive alternative to the divisiveness that too often floods our media and fractures our communities at many levels.

Hayley Anderson, Andy Humphreys, Nicky FoxModule Leader and Supporting Tutors:


IMAGE CREDIT: JAMES EATON-HENNAH, THABISO NYEZI


IMAGE CREDIT: FREYA KAY, JONATHAN LETTERMANN


IMAGE CREDIT:W OSCAR BROWN, HOLLIE LAKE, ANNA KNIGHT GONZALEZ

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IMAGE CREDIT: RUBEN LE SUEUR, JOSHUA EARL


IMAGE CREDIT: ROBERT FORSEY, RYAN BARRIBALL


IMAGE CREDIT: IMOGEN KEMP, OLIVER MURTON, JACOB SHAW, LUCAS PAYNE

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IMAGE CREDIT: ANNABELLE HODD, JACOB SHAW, KATARZYNA BOGUCKA

> Transform

ative


> G

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ATIVE


Design Journal > < Sections 18.19Design Journal > < Sections 18.19


Ibrahim AhmaduToby Allen

Emilie ButterElijah Daka

Dixon Rhianna-LouiseJesse Echefu

Amoy FarquharsonZak Gilby

Peter IrankundaIoannis-Alexandros

Kilinkaridis Adrian Mpanga-Sempa

Eric LaiLauren Lloyd-Foster

Christopher LogueLiana Luzina

Aly MoatazZahra OlanrewajuDouglas PatersonAlexander Payne

Kamil PerzanowskiCameron PowellThomas Powell

Cameron RickardsCaesar SaavedraVivien Smahajcsik

Sebastian Ulloa-ThompsonNicholas Tsangaris

James WidmanSak Wong

Alican Yazgan

> S T U D E N T S

> Generative Studio

> CRO

SS SECTIO

NS 2019


> F u t u re Tr a d i t i o n

Module Leader: Dr. Simos Vamvakidis

Supporting Tutors:

The studio focuses in a theme that aims to create a socially and financially sustainable urban hub for Plymouth, considering both existing local history and traditional professions, as well as opportunities for future growth. The coastal city of Plymouth, like most cities in the periphery of the UK, is financially and socially suffering. The younger generation is moving to bigger cities due to the lack of job opportunities and the elderly become socially marginalized.The studio focused on the Upper Millbay / Upper Hoe area in Plymouth.

The aim of this studio is to propose a design strategy through architecture, that will come to support at least a few of the current and also future needs of the people of Plymouth, from educational / financial, to cultural and social needs.This means that the programmatic functions act as attractors for investments and visitors, but also support the local community.

The studio included three thematic sub-areas, which the students could choose to focus on: Science / Culture / Craftmanship & Technology

Students proposed design strategies or even utopias. They researched and proposed programmatic functions that would socially and financially create growth in Plymouth, attracting specific visitors (which students had to specify and analyze).

For example, for the thematic area of craftsmanship & Technology, students proposed a boat-making and woodwork educational / professional skills facility that gave the chance for people from everywhere in the world to learn the profession of boat making in Plymouth. That also would give the chance to elderly locals to pass on their knowledge and skills to the younger generations. This was also a chance for younger local people,z that want to become craftsmen, to continue living in Plymouth or Devon and work in the proposed project, or any yacht company in Devon. Manufactured artifacts in a student project, could be then shipped nationally or globally, using new means of transportation, such as drones.

Generative design is an iterative design process that involves a program that will generate a certain number of outputs that meet certain constraints, and a designer that will fine tune the feasible region by changing minimal and maximal values, in order to reduce or augment the number of outputs to choose from. The program doesn’t need to be run on a machine like a digital computer, it can be run by a human for example with pen and paper.

Dr. Simos VamvakidisGenerative Architecture Studio Leader

Roy McCarty, Alex Screech


BARCELONA


> S T U D Y T R I P : B A R C E L O N A , S PA I N

The Spanish Architect Antoni Gaudi is maybe the forefather of Generative Design in Architecture. Students had the chance to visit and analyse globally acknowledged buildings by Gaudi, such as the Sagrada Familia and Casa Mila and Casa Batlo. The Barcelona Pavilion by Mies Van Der Rohe was also a very important point of reference, reflecting the high period of Modernist Architecture”.


IMAGE CREDIT: NICHOLAS TSANGARIS RHIANNA-LOUISE DIXON


IMAGE CREDIT: CHRIS LOGUE


IMAGE CREDIT: KAMIL PERZANOWSKI, IOANNIS-ALEXANDROS KILINKARIDIS


IMAGE CREDIT: ERIC LAI

> M

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Module Leader: Dr. Matt Emmett,

Supporting Tutors:

The MArch year 1 studio has engaged with a local but complex issue (and opportunity) arising in the Millbay area of Plymouth and inevitably ‘bleeding’ into nearby Union Street and Stonehouse. As plans for the construction of a ‘boulevard’ linking the rationalist Abercrombie city centre and the waterfront but incoherent site of Millbay have been recently revived, a series of challenges arise as to how to organise and re-qualify the entire neighbourhood as well as how to avoid the risks of limiting intervention to a simplistically gentrified development of new expensive housing associated with restaurants and cafes, yet bordering with some of the most socially and economically deprived areas of the city. Those areas - well beyond being seen as problematic - can also play a positive role as an asset providing local engagement and a sense of community now virtually absent - or fairly under-represented - in Millbay.

The brief has therefore required students to tackle at both urban strategy and building design levels, the socio-economic tensions, possible contrasting concepts and agendas of regeneration, and a spatially fragmented place in need of finding a renewed coherence and identity. This whilst making an effort to embrace and accommodate diversity and make the most of the differences embedded in the future shaping of the area, rather than propose one-way homogeneous alternatives.

> E X PA N S I O N

Dr. Matt EmmettYear One March Design Studio Lead

Professor Bob Brown,Jason Geen, Peter Moseley, Lynne Sullivan OBE

> MARC

H 01 Studio

> CRO

SS SECTIO

NS 2019

Kayleigh AveyTheresa Badero

Nathan BarkerChanida Barrett

Chia BehWeng Beh

Alston ChanElizabeth CrossOliver FlexmanThomas GrantElizabeth Hard

Ashley HarrisonNell HewettTareq Jilani

Yanko KondevMatthew Lee

Astrid MorandetDaniel Rayson

Amrutha ShastryCeline Tee

Angus TurnbullThomas Wolfe

> S T U D E N T S


IMAGE CREDIT: JACK THOMPSON


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IMAGE CREDIT: ELYSE KASSIS & MARTIN KIEDROWSKI



IMAGE CREDIT: CRISTOPH MAXLE IEOH ESPINA


IMAGE CREDIT: MANMEET KALSI

> M

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01Design Journal > < Sections 18.19

> M

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> U t o p i a n D re a m s a n d E v e r y d a y R e a l i t i e s

Module Leader: Professor Bob Brown

Supporting Tutors:

Conceptions of utopia and the everyday permeate our project site of Iao Hon, and Macau more generally. Iao Hon is one of many disparate projections of idealised landscapes – here a modernist vision – on to the found and constructed terrain of Macau. Their presence speaks of the city’s capacity for multiple, even conflicting agendas and conditions, to be present concurrently, a juxtaposition intensified by proximity and density. Here we find the small – in scale, tactility and the experiential – and the large in the overblown, the symbolic and spectacle. A simultaneous convergence and divergence occurs, reflected equally in a number of correlating issues.

One interpretation of Macau’s urban fabric (and history) is as palimpsest. Often understood as the temporal accumulation of physical layers, here palimpsest is equally intangible but still present layers of human activity in space. Further distinctive here is how these layers sit side by side, with the interstices between layers acting as boundary or threshold, even at the same time.Macau witnesses the projection and power of image, and the simultaneous reality of meaning-making in the everyday. Cities have long projected objectified, aestheticized images. Yet the construction of place equally occurs at much smaller scale, in the quotidian interaction of individuals and communities. Macau is relatively

small as a city, its geographic setting at the end of a peninsula reinforces its small size. Its history as a Portuguese colonial outpost on the edge of a substantially larger, different country

helped foster an introverted urban focus and sense of singularity. Yet Macau’s diminutiveness is contrasted by its historic role within a colonial empire as a key trading link in a global trading route, the density of the population, and status as a leading tourist destination.Macau’s simultaneity reflects a sense of here and there, both European and Asian. Originally a stopping point for continually moving Portuguese merchants, a similar mobility is today enacted through the movement of over 300, 000 people across the Chinese-Macau border each day for employment, shopping or study, as well as tourism.

Further juxtapositions are evoked in other narratives. While its economy was historically built upon trade, in recent years it has focused on tourism. It possesses a rich Portuguese and Chinese cultural heritage, yet the population and recent cultural representations speak of somewhere else. Chinese and Portuguese culture value respect for ancestors and received traditions (i.e., there and then), though contemporary Macau is marked by a headlong rush towards an embrace of all things modern and/or Western (i.e., here and now). These simultaneous, often conflicting agendas and conditions pose a challenge; do we eliminate this difference, ignore it, or homogenise it within some hybrid? Or is there possibility to not only accommodate but embrace this difference? Such an urban project is defined not only by what it takes from, but also by what it gives back to the other. Formed between one and another is a liminal space of multiple possibilities; their co-presence does not negate the other, but rather allows for a simultaneous activation.

Professor Bob BrownMaster of Architecture Programme Leader

> MARC

H 02 Studio

> CRO

SS SECTIO

NS 2019

Professor Alex Aurigi, Jason Geen, Peter Mosley, Lynne Sullivan OBE, Dr. Satish Basavapatna Kumaraswamy

Kayleigh AveyTheresa Badero

Nathan BarkerChanida Barrett

Chia BehWeng Beh

Alston ChanElizabeth CrossOliver FlexmanThomas GrantElizabeth Hard

Ashley HarrisonNell HewettTareq Jilani

Yanko KondevMatthew Lee

Astrid MorandetDaniel Rayson

Amrutha ShastryCeline Tee

Angus TurnbullThomas Wolfe

Celine Tee Xuan

STUDENTS

MACAU

> S T U D Y T R I P : M A C A U , C H I N A

Conceptions of utopia and the everyday permeate our project site of Iao Hon, and Macau more generally. Iao Hon is one of many disparate projections of idealised landscapes – here a modernist vision – on to the found and constructed terrain of Macau. Here we find the small – in scale, tactility and the experiential – and the large in the overblown, the symbolic and spectacle.


IMAGE CREDIT: CHANIDA BARRETT AND CHIA BEH



IMAGE CREDIT: ASHLEY HARRISON



IMAGE CREDIT: OLIVER FLEXMAN



IMAGE CREDIT: DANIEL RAYSON


IMAGE CREDIT: KAYLEIGH AVEY


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